{"id":109355,"date":"2019-02-11T07:00:25","date_gmt":"2019-02-11T13:00:25","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=109355"},"modified":"2019-02-08T14:40:09","modified_gmt":"2019-02-08T20:40:09","slug":"interview-dungeons-dragons-artwork-documentary","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/interview-dungeons-dragons-artwork-documentary\/","title":{"rendered":"The Story Behind Editing a Movie About Dungeons &#038; Dragons"},"content":{"rendered":"<h2 id=\"we-got-the-secrets-behind-how-some-of-the-classic-dungeons-and-dragons-artwork-came-to-be-and-making-a-documentary-about-it\">We got the secrets behind how some of the classic Dungeons and Dragons artwork came to be \u2014 and making a documentary about it.<\/h2>\n<p class=\"p1\"><span class=\"s1\">I was recently lucky enough to sit down with co-director and editor <a href=\"https:\/\/www.imdb.com\/name\/nm2228511\/?ref_=tt_ov_dr\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"external\">Kelley Slagle<\/a> and sound mixer and editor <a href=\"https:\/\/www.imdb.com\/name\/nm2933908\/?ref_=ttfc_fc_cr7\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"external\">Seth Polansky <\/a>of the recent documentary <em><a href=\"http:\/\/www.eyeofthebeholdermovie.com\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"external\">Eye of the Beholder: The Art of Dungeons and Dragons<\/a><\/em>. They edited over 72 hours of footage in Premiere and mixed it in Audition. With interviews, pictures, and artwork that span over 40 years, the topic is both inspiring and timeless for anybody who grew up with Dungeons &amp; Dragons or has enjoyed the artwork. It&#8217;s a documentary about creators, for creators.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"EYE OF THE BEHOLDER: The Art of Dungeons and Dragons - Documentary - Teaser\" src=\"https:\/\/player.vimeo.com\/video\/185261610?dnt=1&amp;app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<hr \/>\n<p><strong>PremiumBeat: <\/strong>So how did this project come about?<\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle:<\/b><\/span><span class=\"s1\">\u00a0<\/span><span class=\"s2\">Back in 2013, we made a film called <em>Of Dice and Men,<\/em> which was a narrative movie about a group of roleplaying gamers. Seth and I made that together. That was when I first really got into playing D&amp;D. It was because of making that movie I became a gamer. But, when we were screening the film, we met a filmmaker named <a href=\"https:\/\/www.imdb.com\/name\/nm2520673\/?ref_=tt_ov_dr\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"external\">Brian Stillman<\/a> who was screening his documentary <em><a href=\"https:\/\/www.imdb.com\/title\/tt3648510\/?ref_=nm_knf_i1\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"external\">Plastic Galaxies: The Story of Star Wars Toys<\/a><\/em> at the same festival. And we struck up a conversation and a friendship. Brian was a huge gamer and had the original idea for the documentary on the Dungeons &amp; Dragons artwork and liked our film so much that he approached us about partnering on the project.\u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><strong>PB:<\/strong> <\/span><span class=\"s2\">I&#8217;m sure tackling something as big as Dungeons &amp; Dragons can feel a little daunting at first, given the fanbase.<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle: <\/b><\/span><span class=\"s2\">Yeah. I mean, it&#8217;s actually approaching forty-five years of the game. Now you&#8217;re talking about hundreds upon hundreds of pieces. And right now, you know, not being able to include everything. How do you pay proper homage?<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Seth Polanksy: <\/b><\/span><span class=\"s2\">Yeah. One of the biggest challenges is trying to figure out who to include and who not to include. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle: <\/b><\/span><span class=\"s2\">We did 40 interviews for the documentary, and we could have done 30 more easily. We were interviewing up until February of this year. Finally, as the editor, I had to draw the line and say no more. So, you know, we kept making sure that we represented. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b><strong>PB<\/strong>: <\/b><\/span><span class=\"s2\">How did you approach finding all of the footage or the artwork. I&#8217;m sure there was an overwhelming amount of content to look through. Where did you start?<\/span><span class=\"s2\">\u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle:<\/b><\/span><span class=\"s1\">\u00a0We started by doing a ton of scanning of the original product artwork. So the first<\/span><span class=\"s2\">\u00a0D&amp;D set that came out had black-and-white artwork, and then we went all the way up until the most recent release. We also looked through our personal collection, bought new collections, and borrowed some from friends.\u00a0<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\">But we also approached some collectors of the original artwork \u2014 they have a lot of it. And we were able to approach them to get photographs of the original artwork. So it was really helpful that they were willing to cooperate with us on the documentary. And then there wasn&#8217;t a lot of footage because there was not a lot of original footage from 40 years ago. But, there were a lot of old photos that we collected from various artists and various insiders from the company that made Dungeons &amp; Dragons.<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\">So, with that all combined with a tiny bit of stock footage and photos, we were able to include hundreds upon hundreds of pieces of artwork in the film.<\/span><\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-109387 size-large\" title=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Artwork\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?w=755\" alt=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Artwork\" width=\"755\" height=\"422\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?resize=300,168 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?resize=270,150 270w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?resize=277,155 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?resize=359,201 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?resize=543,304 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?resize=560,313 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-Framed.jpg?resize=150,84 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>PB: <\/b>So to edit this documentary you used Premiere Pro, right?<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle: <\/b>Right. I&#8217;ve been a Premiere user since 2011, and<\/span><span class=\"s2\">\u00a0I was really looking for organizational capability because managing seventy-two hours of footage with over forty interviews was going to be hard.<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\">So I knew that I was going to be living in the Markers panel for a moment. And that&#8217;s what I did. I broke down forty interviews into their own timelines with markers for sound-bites. And I was able to search and organize those markers. Then I broke down storylines into individual sequences and took my marked footage and put it in the storyline sequences. So I had twenty or thirty storyline sequences when it was all told, but the reason why I was using Premiere was because my organization could be great in the program. I also used the metadata workspace a lot for organizing my footage. <\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s2\">PB: <\/span><\/strong><span class=\"s2\">Yeah, I&#8217;d imagine you&#8217;d want to keep your head on straight with all those clips and interviews. S<\/span><span class=\"s2\">o when you&#8217;re working with the photos were you using Adobe Bridge?<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle: <\/b><\/span><span class=\"s2\">That&#8217;s right. I used Bridge to view all the artwork, and then I would bring it in and then sort through it because I couldn&#8217;t bring all the artwork we had collected. So I had to select from hundreds of pieces of artwork at a time. So I would bring everything up and view it in Bridge, and then as I collected pieces of artwork I wanted to include in B-roll,\u00a0<\/span><span class=\"s2\">I would bring it directly into Premiere. And then, if necessary, I would bring it up to edit it in Photoshop and then save it back, and I would see my changes in Premiere. So everything was hooked together through the Bridge, Photoshop, and Premiere.<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Seth Polanksy: <\/b>Yeah,\u00a0<\/span><span class=\"s2\">It was super helpful to be able to round-trip it so that I could just open it up in Audition, do my edits, then send it right back to her. It was unbelievably helpful.<\/span><\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/DnD-1.jpg\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-109384 size-large\" title=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Artwork\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/DnD-1.jpg?w=755\" alt=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Artwork\" width=\"755\" height=\"459\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-1.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-1.jpg?resize=300,182 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-1.jpg?resize=277,168 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-1.jpg?resize=359,218 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-1.jpg?resize=543,330 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-1.jpg?resize=560,340 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/DnD-1.jpg?resize=150,91 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>PB: <\/b>Seth, what was your workflow like for this documentary? How did Audition hold up?<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><strong><b>Seth Polanksy<\/b>:<\/strong> Well,<\/span><span class=\"s2\">\u00a0the entire film is constructed of interviews, so\u00a0<\/span><span class=\"s2\">my challenges were things like . . . well . . . there are a couple of interviews (I&#8217;m not going to tell you which ones, but I think I did a good job of hiding them) and there was<\/span><span class=\"s2\">\u00a0a chainsaw going behind it the whole time right outside the window. There&#8217;s another interview that takes place in a bar, and there&#8217;s this ice machine constantly running \u2014 and there&#8217;s also tinfoil being ripped off behind the interview. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\">So, you know, I had to do all kinds of noise removal, and Audition was super helpful for that. And I use all the tools available for noise reduction and noise removal in Audition. I also used the iZotope plugins, yet it was a task. I mean, just that chainsaw took me two days of work. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>PB:<\/b><\/span><span class=\"s1\">\u00a0<\/span><span class=\"s2\">So were you on set? How involved were you with the actual audio recording?<\/span><\/p>\n<p class=\"p1\"><strong><span class=\"s2\"><b>Seth Polanksy<\/b>: <\/span><\/strong><span class=\"s2\">With all due respect to my producers, the [interviews] that I spent the most time on were the interviews that I was not on location for.<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle:\u00a0<\/b><\/span><span class=\"s2\">A lot of the time it was a one-man-band situation \u2014 like with our co-producer Brian who had to do the video and audio on a couple of interviews. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Seth Polanksy: <\/b><\/span><span class=\"s2\">Exactly. I mean it&#8217;s as good as it can possibly be, and I&#8217;m very proud of it quite frankly.<\/span><\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-109388 size-large\" title=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Production Still\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg?w=755\" alt=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Production Still\" width=\"755\" height=\"401\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg?resize=300,159 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg?resize=277,147 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg?resize=359,191 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg?resize=543,288 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg?resize=560,297 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Drawing-Still.jpg?resize=150,80 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>PB: <\/b>W<\/span><span class=\"s2\">hat type of audio equipment did you use for the for film? <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Seth Polanksy: <\/b>I used a Schoeps Hypercardioid with three different capsules and a RME babyface<\/span><span class=\"s2\">. So I just put the Schoeps right into the babyface, and if I needed a LAV, I&#8217;d use one. But, personally I can&#8217;t stand wireless LAVs \u2014 half the time I&#8217;m picking up interference. So the Schoeps is really what you hear most throughout the documentary. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>PB: <\/b>So, Kelley, as director and editor, did you find yourself directing for the edit?<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle: <\/b><\/span><span class=\"s2\">Absolutely. I was co-directing with Brian, and we\u00a0<\/span><span class=\"s2\">discussed everything that was going to be in the edit. We worked very closely together on the edit. I would do an initial edit, and then he would come in and give directions. And we would discuss things together. But we had a clear vision for the film from the beginning. W<\/span><span class=\"s2\">e weren&#8217;t going to be in the documentary ourselves, and we weren&#8217;t going to use voiceover. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\">So we knew that the story was coming from the people. And not something we constructed. But, yeah \u2014 in the edit, we would work very closely together on crafting the story<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Seth Polanksy: <\/b><\/span><span class=\"s2\">You&#8217;d be surprised how often you have to remind interview subjects . . . Well, you know, in all fairness, a lot of these folks are not used to being interviewed . . . but you&#8217;d be surprised how often you have to remind them to not just answer the question and instead sort of rephrase it \u2014 like instead of saying &#8220;It was blue,&#8221; say &#8220;Well the color I chose to paint that was blue.&#8221; It was very interesting because I don&#8217;t really spend a lot of time on the producer side. I spent more time on the audio backend side. So, it was interesting to watch them ask the interview subjects to rephrase their answers. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle: <\/b><\/span><span class=\"s2\">A lot of the thing with our interviews \u2014 and the reason we got great stories \u2014 is because we took the time with the interview subject by taking them out for lunch before we interviewed them and talking and pre-talking about subjects before we got them in front of a camera. Which, some people might think is something you don&#8217;t want to do. But we found it made people feel a lot more at ease, and they were more willing to open up to us.<\/span><span class=\"s3\">\u00a0<\/span><span class=\"s2\">A lot of the time people would say &#8220;You&#8217;re going to lose spontaneity,&#8221; but we found it to be just the opposite. By hanging out with them and talking about the story ahead of time, we were able to get great stories on camera.<\/span><\/p>\n<p><a href=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-109386 size-large\" title=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Production Still\" src=\"https:\/\/www.premiumbeat.com\/blog\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg?w=755\" alt=\"The Story Behind Editing a Movie About Dungeons and Dragons \u2014 Production Still\" width=\"755\" height=\"403\" srcset=\"https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg 755w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg?resize=300,160 300w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg?resize=277,148 277w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg?resize=359,192 359w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg?resize=543,290 543w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg?resize=560,299 560w, https:\/\/vip-go.premiumbeat.com\/wp-content\/uploads\/2019\/01\/Dragon-Book.jpg?resize=150,80 150w\" sizes=\"auto, (max-width: 755px) 100vw, 755px\" \/><\/a><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>PB:\u00a0<\/b><\/span><span class=\"s2\">What did you learn about filmmaking while making this film? And what piece of advice would you give somebody who is considering making their own documentary?<\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Kelley Slagle:<\/b><\/span><span class=\"s1\">\u00a0<\/span><span class=\"s2\">I think I was not quite prepared for the amount of time and effort it would take to edit this documentary. When you&#8217;re talking about working with seventy-two hours of footage, making that into a coherent hour and a half, and making it a good story, you need to be prepared to spend twelve-hour days in front of a computer or phone for days and days on end to get there. And it was totally worth it. I&#8217;m very proud of what we accomplished. And I had a lot of fun doing it even though I was working my butt off. But, I think people need to be prepared to invest the time and effort that it takes to get there. I think that&#8217;s the big lesson I would take away from it. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\">And don&#8217;t underestimate good organization. I think that&#8217;s what I&#8217;ve learned more than anything on the documentary and this process: being meticulously organized. Because if you&#8217;re not, you&#8217;re going to have a harder time getting anything done, especially something of this magnitude. <\/span><\/p>\n<p class=\"p1\"><span class=\"s2\"><b>Seth Polanksy: <\/b><\/span><span class=\"s2\">For me, the takeaway was the guy who mixes should probably be the guy recording.\u00a0<\/span><span class=\"s2\">They should probably be the person on-set because they can identify things that people who aren&#8217;t trained audio folks don&#8217;t think of \u2014 like ice machines, fax machines, and refrigerator hums . . . things that are going to be a problem in the mix. <\/span><\/p>\n<hr \/>\n<p><em>All images via <a href=\"http:\/\/www.eyeofthebeholdermovie.com\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"external\">Eye of the Beholder: The Art of Dungeons &amp; Dragons<\/a>.<\/em><\/p>\n<p>Expect<em> Eye of the Beholder<\/em> to release in Spring 2019.<\/p>\n<p>For more in-depth conversations with editors, DPs and directors, check out our past interviews:<\/p>\n<ul>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-director-adam-salky\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">Adam Salky on Directing Projects with Powerful Emotional Themes<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-editor-behind-itonya\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">How the Editor Behind I, Tonya Recreated History<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-editor-green-book\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">The Editor of Green Book Offers Insight Into the Art of Balance<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-set-photographer-shooting-for-marvel\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">Set Photographer Matt Kennedy on Shooting for Marvel<\/a><\/li>\n<li><a href=\"https:\/\/www.premiumbeat.com\/blog\/interview-dan-marocco-brooklyn-nine-nine\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">Composer Dan Marocco of Brooklyn Nine-Nine<\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>We got the stories behind how some of the classic Dungeons and Dragons artwork came to be \u2014 and making a documentary about it.<\/p>\n","protected":false},"author":130,"featured_media":109389,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[3843,79],"tags":[2365,536,857,5380],"class_list":["post-class-post-109355","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-filmmaking-2","post-class-category-inspiration","post-class-tag-documentaries","post-class-tag-filmmaking","post-class-tag-industry-2","post-class-tag-inspiration"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>The Story Behind Editing a Movie About Dungeons &amp; 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